| Susannah York | ... | Cathryn | |
| Rene Auberjonois | ... | Hugh | |
| Marcel Bozzuffi | ... | Rene | |
| Hugh Millais | ... | Marcel | |
| Cathryn Harrison | ... | Susannah | |
| John Morley | ... | Old Man | |
| rest of cast listed alphabetically: | |||
| Barbara Baxley | ... | Voice on telephone (uncredited) | |
Directed by | |||
| Robert Altman | |||
Writing credits | ||
| Robert Altman | (written by) | |
| Susannah York | (book "In Search of Unicorns") | |
Produced by | |||
| Tommy Thompson | .... | producer | |
Original Music by | |||
| John Williams | |||
Cinematography by | |||
| Vilmos Zsigmond | |||
Film Editing by | |||
| Graeme Clifford | |||
Production Design by | |||
| Leon Ericksen | |||
Makeup Department | |||
| Toni Delaney | .... | makeup artist | |
| Barry Richardson | .... | hair stylist | |
Production Management | |||
| Sheila Collins | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Seamus Byrne | .... | assistant director | |
Sound Department | |||
| Rodney Holland | .... | sound editor | |
| Noel Quinn | .... | boom operator | |
| Liam Saurin | .... | sound recordist | |
| Doug E. Turner | .... | dubbing mixer (as Doug Turner) | |
| Stomu Yamashta | .... | (sounds ) (as Stomu Yamash'ta) | |
Special Effects by | |||
| Jerry F. Johnson | .... | special effects (as Jerry Johnson) | |
Camera and Electrical Department | |||
| Earl L. Clark | .... | assistant camera (as Earl Clark) | |
| Jack Conroy | .... | gaffer | |
| Paddy Keogh | .... | grip | |
| Nico Vermuelen | .... | assistant camera | |
Costume and Wardrobe Department | |||
| Jack Gallagher | .... | wardrobe | |
Editorial Department | |||
| Robin Buick | .... | assistant editor | |
| Michael Kelliher | .... | assistant editor | |
| David Spiers | .... | assistant editor | |
Music Department | |||
| Stomu Yamashta | .... | musician: sound sculptures | |
| John Williams | .... | orchestrator (uncredited) | |
Transportation Department | |||
| Arthur Dunne | .... | transportation captain | |
Other crew | |||
| Joan Bennett | .... | continuity | |
| John Collingwood | .... | production accountant | |
| Jean D'Oncieu | .... | assistant to producer | |
| Raymond Ray | .... | clothes: Miss York | |
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I have spent a grown lifetime seeking this 1972 Altman dreamscape, and lost all hope when a friend reported that the director told a Q-and-A audience that Columbia had mistakenly destroyed the negative. A specialty store in Santa Monica somehow found a video copy, and it was worth fifteen years' wait.
Suggestive of the tinkling, misted-over fugue states of QUINTET and THREE WOMEN, IMAGES riffs lyrically off Polanski's REPULSION. Where Polanski's film is pitched somewhere between sixties horror and the dry joke-telling of Bunuel, Altman's version is lush, druglike, sensuously baroque. Susannah York plays a children's writer in a remote Irish cottage who seems to be spending too much time indoors. (Were the movie not lost in obscurity, you might think her an antecedent for Jack Torrance and Barton Fink.) As she copes with the would-be-regular-guy puttering of her schmucky husband (Rene Auberjonois, in a role rightly intended for Michael Murphy), two other loathsome men flit into her life--the husband's buddy, an Irish lecher played by Hugh Millais, and a seemingly dead ex-lover, played by Marcel Bozzufi. As these men appear to bleed into one another in York's mind, so do they soon start bleeding into the cottage's Persian rugs.
IMAGES defines Altman as the freest and most fearless of all American moviemakers. Most critics only stand behind Altman's we-are-the-people movies--his community mosaics. But he clearly is as passionate about mapping inner worlds as outer ones, and these Expressionist chamber pieces are his most feckless works. The movie is also a reminder of what Altman lost when he stopped hiring Vilmos Zsigmond to shoot his movies. Almost no one on the planet has such an intuitively graceful and expressive shooting style, but Zsigmond's stunning work here--among his finest--reveals that it's a long walk downstairs from Zsigmond to the likes of Jean Lapine. And note should be made of the work of the youngish composer who wrote the elegant, sinewy, restrained score--a decidedly non-bombastic, anti-symphonic fellow whom we now know as John Williams.